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Responsible Songwriting: Problems of Ethics and Negotiation in Collaborative Autoethnographic Composition by Alex Wilder Introduction There are five things to write songs about: I'm leaving you. You're leaving me. I want you. You don't want me. I believe in something. Five subjects, and twelve notes. For all that, we musicians do pretty well. —Elvis Costello1 While this statement is clearly tongue-in-cheek, Costello points out an issue here that plagues popular music—a lack of diversity of subject matter. Take, for instance, the top three tracks on the Billboard Top 100 as of the time of this writing (April 4, 2017): “Shape of You” by Ed Sheeran, “That’s What I Like” by Bruno Mars, and “Something Just Like This” by The Chainsmokers and Coldplay.2 All three tracks are, at some level or another, about love, sex, or romantic relationships. This trend is fairly consistent through the rest of the charts—a 2011 study of one thousand Billboard number one hits found that 658 were love songs. An additional 66 songs were so-called “anti-love songs”, falling into Costello’s category of “I’m leaving you”.3 Cumulatively, 72.4% of chart-toppers pertained to romantic and sexual relationships. The effect of this thematic saturation is that we only hear about a very narrow range of experiences when we listen to popular music. While there is certainly diversity 1 Elvis Costello, quoted in Bill DeMain, In Their Own Words: Songwriters Talk About the Creative Process. (Greenwood Publishing Group, 2004), 11. 2 “The Hot 100,” Billboard.com. Accessed 4 Apr. 2017. http://www.billboard.com/charts/hot-100 3 Gary Trust, “The Power Of Love: Analyzing The Hot 100's 1,000 No. 1s,” Billboard.com. February 23, 2011. http://www.billboard.com/articles/columns/chart-beat/472921/the-power-of- love-analyzing-the-hot-100s-1000-no-1s !2 within the pop songwriting community, I would suggest that there are many people outside this realm who have gripping stories and points of view. Specifically in the realm of popular music, we could use some new voices. Documentary songwriting is an autoethnographic, collaborative songwriting method that provides a potential solution to this problem. First developed by composer Malcolm Brooks and expounded in his 2013 dissertation “Autoethnography of a Composer with a New Composing Method,” documentary songwriting aims to “document the emotions of people’s experiences in songs and to express feelings in a way that only music can.”4 It generally follows an established process, as outlined here by Brooks: a. I [the musical guide] sit down with a person, listen to her tell of an experience, and type it verbatim into a laptop computer. b. Then I ask her to review the words on the screen and instruct me where to break up the sentences, so as to transform her spoken prose into free verse. c. I then ask her to read this free verse aloud as I record it on an Apple iPhone. d. Next, I ask her to sing the free verse through, even though no melody yet exists. I record this seemingly random singing of free verse on to the iPhone. e. Then we listen to the recording, and I help her detect the melodic and rhythmic patterns in her spoken and spontaneously sung words. f. Together, we expand these patterns into a complete, original song.5 While seemingly simple, these six steps entail a complex synthesis of ethnography, collaboration, and songwriting technique that can elicit emotionally impactful stories and turn them into meaningful, accessible songs. I know this because I have participated in and observed a great number of documentary songwriting sessions. 4 [Finish citation] http://documentarysongwriter.org/wp/ 5 Malcolm Brooks, “Autoethnography of a Composer with a New Composing Method,” 2013: 9. !3 When Brooks was first developing his process in 2009, I was his student.6 After the release of his dissertation in 2013, we began working together as colleagues along with several other songwriters in exploring the benefits of documentary songwriting on popular song. What we have found since then is that although not all songs written using the method have or should have Top 40 potential, documentary song can be optimized for creating songs that fit standards of popular music in a given community. In this article, I hope to substantiate these findings through personal reflection and research. For the purpose of this study, I will take popular music to mean accessible music —i.e. music that taps into a common cultural understanding and does not require specialized knowledge. If we then make accessibility a goal of documentary songwriting, a potential conflict appears: personal expression is balanced against the adherence to norms that accessibility often entails. The goal of this study is therefore to provide potential solutions for the following questions: How can a musical guide ethically and accurately help a story source to represent their own story through popular song? Or, more broadly, how can a guide optimize documentary songwriting sessions in terms of depth of material, excellence of craft, and fulfillment for the participant? Finally, how can documentary songwriters negotiate a balance between these goals and the established standards of popular music? In this study, I aim to show that documentary songwriting, through its unique synthesis of collaboration, ethnography, and songwriting technique, provides a method of writing popular songs that can adapt the existing paradigm by sharing stories of real people. 6 Brooks, “Autoethnography of a Composer with a New Composing Method,” 115. !4 Furthermore, I wish to show that through a variety of techniques in ethnography, collaboration, and songwriting, documentary songwriters can make strides to write songs that share unconventional stories while fitting into the popular music genre. In this document, I will introduce the reader to a number of fundamental concepts in documentary songwriting, share thoughts on how to apply the method to writing popular song, and bring up challenges relating to that application. The remainder of this section covers notes on terminology and the collaborative nature of the method. The following section provides practical steps for musical guides who wish to optimize documentary songwriting for writing pop. Lastly, I have included additional considerations that may be of use to musical guides. Terminology Given that this is an emerging field of composition, terminology is in constant development as new issues and revelations arise. However, Brooks has established a distinct set of terms with which to refer to the process. The person who tells the story is called the “story source.” This terminology is self-explanatory, but it should be noted that it leaves the degree of involvement of the participant up to those involved, ranging from literally providing the source material for the story, to having an equal hand in all parts of the compositional process. The person who leads the process is called the “musical guide,” as they are responsible with guiding the participant through the process. This terminology is significant, as it does not restrict the label of “songwriter” or “composer” to one participant or the other. Instead, both participants are songwriters and composers, as they are both contributing to the creation of a song. Brooks and a number !5 of associates alternatively use the term “musical Sherpa” to describe the musical guide’s role, but I avoid this characterization because of cultural connotations that might obscure the intention of the role. With this terminology in mind, let us explore the reason behind these roles. The Case for Collaboration Why can’t the story source simply write a documentary song without a musical guide? After all, lack of songwriting experience does not diminish an individual’s ability to tell a compelling story. Additionally, the act of introducing additional people into the situation ostensibly increases the possibility that a song will not reflect the feelings of the story source accurately. This begs the question, then, of what good the musical guide does. Why collaborate? Documentary songwriting is an inherently communicative medium: just as the purpose of telling a story is to convey an experience or feeling, this form of songwriting aims to do the same. Thus, to write a song based on a spoken story, a story must first be told. An active listener will help the story source to formulate their experiences in a compelling way.7 Attentive listening can elicit a greater depth of emotion from the story source, as well as more focused storytelling—traits that can lead to a more compelling song and a faster process. 7 Herbert J. Rubin and Irene S. Rubin, Qualitative Interviewing: The Art of Hearing Data, (Sage, 2011), 29. !6 Collaborative creative work is also more productive than individual work. The myth of the lone genius has long been debunked and scholars agree more than ever that working with others leads to greater progress.8 This is especially true in documentary songwriting, due to the amount of text accumulated. In a long story, especially one’s own, the focal point can be hard to find. The crux of an experience that will come to define the song is sometimes hiding in plain sight, and it can take a second pair of eyes to recognize what it is. Going it alone can become a frustrating head game, and having other perspectives is often a great benefit. Multiple songwriters also strengthen and clarify the message of a song simply by virtue of their cognitive differences. What makes sense to one person may be incomprehensible to another. By raising questions and having conversations about areas of misunderstanding, those areas can be subsequently modified or defended and increase the communicative ability of the song.

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